Epistemysics

Some theatre each day keeps the doctor away…

Rosencrantz and Guildenstern are Dead (Again)

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Saw Rosencrantz and Guildenstern are Dead with the STC again this afternoon.  Just as good.  I think I like Travesties better.  Though I’ll never know, of course, because I’ll never see Travesties – or that production of it – again.  Perhaps the reason I like Travesties better is because of its happy ending.

There was a woman next to me who, throughout most of the first half, was eating a burrito.  Or something with meat in it, that smelled a tad unpleasant.  (It was too dark for me to actually see what she was eating out of the corner of my eye – for I wasn’t going to turn my head to properly look – so I cannot be sure.)  She was, admittedly, rather quiet about it – extremely quiet, actually – although there was a bit of rustling of the wrapper/packaging when she was finished.  Still, though.  I don’t think it’s too much to ask to go to the theatre and not have hot meat consumed adjacent you.

When the blackout occurs at the beginning of the third act, ushers came along with big black scoops that covered the back two exit signs.  (I was sitting near the back of the stalls.)  The other signs were switched off, though.  I wonder why the ushers needed to be used for the back two?  Perhaps they’re not allowed to have all the lights off at once.  What is the law regarding all that?

Almost bought Clive James’ Dante at the Gleebooks shop there – cheaper, though not by much, that I could get it anywhere else – but didn’t.  ‘Twas quite near John Bell’s On Shakespeare, which I want to get at some point, too.  Coinkeydinkey, methinks.

The thing about seeing an excellent production of a play is that – assuming one’s memory doesn’t fail – you can easily read the script forevermore, and not have to work for the subtleties.  How intelligible can Shakespeare become after seeing it acted!  Not that it is horridly unintelligible to begin with – though a little bit, of course – but it is the intonation and subtext added by the actor that adds topography to the script.

68/whatever.  There’s some useless footnotes in this book, and in all the Austens so far, which annoy me.  Such as:

perfectly persuaded: Entirely convinced; the first of many diverse uses of the concept of persuasion in the book.  See Introduction.”

No!  No, no, no!  I do not need to know that.  First, I doubt most people would have any problem with comprehending ‘perfectly persuaded’ in the context it was in; secondly, I don’t want to have the ‘thematic’ meaning of a book explained to me as I’m reading it – thematic stuff is for the introduction.  And these notes aren’t only useless at some points, they’re downright dangerous, with many having spoilers in them.  There was a note about halfway through the first volume of Mansfield Park that talked about the snub that Fanny was receiving, and then explained that it would be overturned (I’m remembering it incorrectly) when Fanny had her coming out in the second volume, and was proposed to by Henry Crawford.  What!  What!  Why are you telling me this – without any warning – in an endnote?  No!  No!  No!  No, damn it, no!  The Dickens’ footnotes aren’t anything like this.  And then they’ll have a footnote, like, for ‘favor’, and explain that both the English and American spelling were acceptable Austen’s day, as if the majority of readers would be concerned about it.  And if they were concerned about it, why couldn’t they look in the emendations section, where other such spelling differences have been listed?  Or why couldn’t they silently change it to favour?  (Though I suppose that’s a whole can of academic worms, doing that.)  Gah!  Rant over.

In other news, there was a federal election today.  Felt I should mention that.

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Written by epistemysics

September 7, 2013 at 3:34 pm

Posted in Uncategorized

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